I’m in Audiobook Heaven with These 10 Books

 

Audiobooks are my new best friends. I don’t always carve out time to read during the day, because life just got way too busy. So over the last year, my daily commute has become that sacred time when I can listen to an audiobook. This has been great because (1) I speed a lot less when I’m concentrating on a book and not belting out Johnny Cash or the Clash, (2) I get a lot less hacked off during traffic jams when I’m listening to a good book, and (3) I make a huge dent in my reading pile and discover tons of new stories. Sometimes I can burn through a book a week when listening on my drive.

My new job means I spend a lot of time at the computer, and that has me primed to gather more audiobooks into my library. I can’t listen to a book when I’m writing, or editing, or doing much that is word-related, but my new job is in graphic design. For me, that means using an entirely different quadrant of that brain that allows me to create while listening to a book. That’s win-win!

So in case you’re tired of your iPhone’s playlist, like I was, I’ve compiled a list of some of my favorite audiobooks from the last year:

1.The Rules of Magic, by Alice Hoffman. I dearly loved Practical Magic and was skeptical of the sequel. But Hoffman really delivered here, writing a story chock full of humor and heartache that was the perfect complement to the first book. The characters were wonderfully drawn and I was hooked from start to finish.

2. Born a Crime, by Trevor Noah. This book was amazing. I laughed so hard, and then—I’ll admit—cried a time or two. This story of Noah’s growing up in South Africa sparkles with wit and warmth. I loved Noah’s storytelling and didn’t want it to end. 

3. Anansi Boys, by Neil Gaiman. This is one of my favorite books by Gaiman, and the narrator (Lenny Henry) is out of this world. Modern folklore at its best, and wicked good fun. I’ve listened to it three times already.

4. You, by Caroline Kepnes. A startling thriller, told from the villainous protagonist’s point of view. And the reader, Santino Fontana, is one of my favorites of all time. This one’s not for the faint of heart, but it’s smart, and biting, and full of diabolical humor. Bonus: there’s a sequel that’s equally mesmerizing—Hidden Bodies, also read by Fontana.

5. Nuts, by Alice Clayton. I just finished this one, and laughed until I hurt myself. I love a good sassy romantic comedy, and Clayton always delivers. With lovable characters and plenty of steam, this one is sure to spice up your workweek. Warning: you might miss an exit during the spicy parts.

6. A Confederacy of Dunces, by John Kennedy Toole. This is one of those books I heard references to my whole life (it won the Pulitzer, for heaven’s sake), and thought it was about something else entirely. I took a chance on this “Don Quixote of the French Quarter” and again, laughed until my ribs ached. 

7. My Sister Lives on the Mantlepiece, by Annabel Pitcher. Read by David Tennant, this one is part tear-jerker and all sparkle. Wonderfully layered characters bring this poignant coming-of-age story to life. It’s one I can’t forget, and one of those stories I wish I’d written. 

8. The Art of Asking, by Amanda Palmer. I listened to this one during a low point, and Palmer reignited my creative fire. It’s a must-read for anyone in a creative funk, or anyone who is curious about the engine that drives creativity—and the giving that comes with it. Also, Palmer plays a song with a ukelele, which is about the cutest damn thing ever.

9. The Handmaid’s Tale, by Margaret Atwood. I confess, I never read it. Didn’t watch the series yet, either. But I listened to the re-release last year read by Claire Danes and it was just as impressive as I expected. The story had me hooked, and it’s as timely now as ever. 

10. Underground Airlines, by Ben Winters. This one follows a bounty hunter in present-day America—but one where the Civil War never happened and slavery still exists. I was intrigued by the premise, but Winters’ prose and stark commentary kept me listening. Definitely one of the most unique reads of the year. 

Bonus tip: I love the convenience of Audible, but there are lots of other sites that offer free or discounted audiobooks. Book Riot has a good list of options here. BUT don’t forget your local library—even my tiny library has a wide selection of audiobooks that they’ll deliver to me ONLINE just like their eBooks. What’s better than that?

Got a favorite audiobook? Hit me up on Twitter (@Firebrandpress). Maybe I’ll add it to a future post!

How to Retreat

Every year or so, I give myself a gift. I give myself a week (or two, if I can swing it) at an artist’s retreat. My favorite spot is the Penland School of Crafts. Sometimes I take classes there with amazing artists, and sometimes I give myself residency time—which is that wide-open, no-holds-barred “making time” that people like me dream about. I used to spend a much larger portion of my life as a printmaker, but there’s been a shift in the last few years, and there’s a lot less time to make art than there used to be.

But every once in a while, I do a retreat—a residency—that gives me time to focus on making new work, experimenting with new techniques, and rejuvenates me. The problem is, I start psyching myself out. Why do we do that to ourselves? Why do we doubt our abilities and our dreams?

Each time I sign up to take a retreat week, this cycle of thought occurs:

1. This is amazing. I can’t wait to go. (2 months until time to go)
2. OMG, what was I thinking? This costs too much. What will I make? (1 week before arrival)
3. I have no ideas. I have only one week here. This was a mistake. (Arrival day.)
4. This is wonderful. I have time to make art again. Look what happens when I do this… (Day 2)
5. I wish I had more time. Why don’t I treat myself better? (Day 4)
6. Best week ever. I made something that surprised me. When can I do this again? (Last day)

Why do we doubt ourselves so much? Why do we doubt our abilities and our dreams? This happens EVERY TIME I decide to give myself time at a place like Penland. I second-guess myself until it’s almost paralyzing—even though I know this pattern and know that I always end up making something interesting and meaningful. This time, I went to make prints for an upcoming show in Asheville. I’d psyched myself out so bad by the first day that I didn’t even touch the printing press. I called Andrew and he said, “Are you having trouble getting back on the horse?” I told him, “It’s like the horse sat on me. He’s huge and stubborn and refuses to move.”

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The next day, I just started printing, in full-on “Let’s see what happens when I do this” mode. And the results were pretty cool. I made some calendars, some posters, and learned a new technique that led me right to the prints I needed for the show. (Scroll through the gallery above to see a little bit of everything.  The calendars and posters are for sale in my Etsy shop.)

This story has a happy ending. I had a great week and printed the pieces I needed for the Guild show, and made some things just for fun. I played around with monoprinting, and learned some new techniques. But the question remains: even though I always have a great experience at a retreat like this, why do I still doubt myself before each one? Why do I try to sabotage myself by thinking that money could be better spent on things like gas and groceries?

It’s often hard to justify an expense like that, but sometimes those expenses—and those experiences—bring the most gratifying and meaningful moments in our lives. To retreat in this way is to turn inward, to our most intimate creative selves, and get back in touch with that deepest part of the heart. Retreating reminds me of something John Muir once said. He was talking about escaping to the wilderness, but sometimes the artist’s heart is its own wilderness—and we must have the courage to go. So thank you, Penland, for opening your doors, for harboring us artists when we need you the most, and for giving us space to make, and meet our fellow makers, and for being such a bright spot in the world.

 

Best No-Nonsense Novel Writing Tips, Part V: Momentum

Note to readers: An earlier version of this post was published over at Underground Book Reviews during NaNoWriMo, but hey—we need to work that momentum into our daily writing routines. So here’s how I do that. 

 

Happy New Year, Friends! Are you on your last revision of a work in progress? Gearing up to start something brand new with the new year? If you find yourself running out of steam, don’t fret. We’ve all been there. Sometimes you just need to take a step back and re-evaluate for a minute before you proceed towards the finish line. The thing I love about the annual NaNoWriMo is that you build momentum: and I’m trying hard to keep that NaNo spirit year-round. So if you’re at the point now where you could use a little boost in momentum, here are some tips to sustain your creative energy and keep your word count on the rise.

1. Don’t let the word count scare you. Break things down into manageable pieces. NaNoWriMo asks you to write 50,000 words in a month. That’s 1667 words per day, or about 7 pages—not a bad routine for your daily writer’s life. If you come up short some days, don’t worry. We all fall off the wagon sometimes, but the important thing is to keep going and create some daily writing habits that will continue to help you in the future. Set goals for yourself: 1000 words a day, 5000 words a week—whatever you think you can stick with. The idea here is to create a new habit and a manageable routine that will help you meet your goal. (Personally, I love the word-o-meter I can get with Scrivener. It’s incredibly satisfying to see my little bar move from red to green as I approach my word count.) You got this, Ace. 

2. Remember that recent post about making yourself a road map? The last time I wrote a novel in a month, I made myself a rough outline with some key events that needed to happen. I laid out some basic cause and effect and presto—the scaffolding was there. Then it was just a matter of filling in the details. Once I had a framework for the big picture, I was able to think of the novel in terms of scenes that needed to happen. And writing scene by scene was a lot less daunting than thinking in terms of chapters or acts. (For more about writing in terms of cause and effect, check out Building a Believable Chain of Events in Your Novel by Steven James.)

3. Remember your setting is a character, too—don’t skimp on the description. When I was doing research for my Bayou series I made a Pinterest board  to collect images for reference. I’d visited Louisiana a few times, but when I wanted to pull in specifics (kinds of trees, particular birds, details about Craftsman houses) I looked to the internet for photos to jog my memory. Sometimes, if I was just having a bad writing day, I let myself do some photo research to inspire me—and sometimes I did a little free writing exercise based on a photo to get myself warmed up. Now, as a bonus, the page is still up to let readers see what inspired me as I was writing. When you’re world-building, you need to be specific. Photos can help you see things in more detail.

4. Take the time to develop your characters. Write a profile of each one and take the time to give them unique eccentricities. In a recent blog post, I confessed that my characters ARE in fact based on real people, but not in the way you might think. Most are a composite of lots of people I’ve known, but every character I write draws from real experiences at some point or another. Let your memories guide you and give you specific details that will create memorable characters. It’s the specifics about characters that really make them interesting. Jane Friedman also has some great tips about writing from life experiences in her article What It Means to Be Fierce on the Page.

5. Create momentum. One of the things I love about NaNoWriMo is that it gives me a sense of urgency, which makes me create a writing schedule. It’s important to create a schedule you can actually stick to: whether it’s two hours a day or a ten-hour writing binge on the weekend. On days when you have short windows of time, try a setting or character exercise to get some words out on the page. I used to write short scenes during my lunch breaks, and would then flesh them out when I got home to my writing space. Just getting down some bare bones of scenes would help me move the story along in my head so I could keep building the plot and creating more conflicts.

6. Don’t let your inner editor hijack your writing. If you’re like me, your inner editor likes to rear its wily head in search of typos, plot holes, and generally second-guess you any time you start thinking a little too hard. Remember, this month is about moving ahead. Don’t let the editor slow you down. Remember Anne Lamott’s Bird by Bird? That lovely chapter called “Shitty First Drafts”? Do yourself a favor and re-read it this month (You really should read the whole book, but this will get you started.) Distill it into a mantra that you can repeat each day to beat back the editing beast. This month, it’s all about pouring your story out, page by page. Let yourself go and let the editor take over later—that’s what the revision process is for.

7. Don’t let yourself get writer’s block. If you’re stuck at a point in your story and can’t seem to move forward, jump ahead to another scene you want to write and fill the the gaps later. If you know you want to write a scene where character A meets character X, skip ahead and write that—it just might help you fill in the other parts that have you stalled. For me, novel writing entails a lot pf problem solving, and sometimes that means temporarily leaving one problem to work on another. For more tips, check out Sage Cohen’s 2 Keys to Unlock Your Momentum.

Happy writing, Friends! See you next time. 

Best No-Nonsense Novel Writing Tips, Part IV: Masterful Plot

your novel's plot is like a painting. it has layers.

 

Plot: it’s what most writers I work with struggle with more than anything else. If you’re like a lot of them, your book idea might be built around one central intriguing event. So you’ve got a bold/clever/exciting event: now how do you build all of the scenes around it to create a whole novel? For me, it’s a little like a painting: there are a lot of layers and more complexity than you see at first glance.

1.Think in terms of decisions. Your character must take action: don’t simply create events that happen to her. She must make decisions that either alleviate trouble or create more of it. (And we all know that when you solve one problem you have to create a new one—otherwise you have a dull story. So don’t let your heroine get too comfortable.) It’s easy to fall into the pattern of describing events that happen to your character; instead, compose events that she creates based on her behaviors. For example: if your heroine’s dog is hit by a car, that’s sad, but boring. If her dog is run over by her neighbor because the neighbor suspects your heroine is having an affair with her husband, then that’s plot development. (See also: Creating Tension. Lucy Atkins has some great advice about how to create tension, even when you don’t have extreme drama happening.)

2. Decisions must lead to consequences, which lead to more decisions and more consequences. This is how you create escalating drama and build tension. When crafting a story, you are creating a chain of events—they aren’t all necessarily related on the surface, but they are connected because of your character’s fears, values, and desires. For example: the neighbor runs over your heroine’s dog. Your heroine confronts the neighbor lady (because she’s hot tempered) and they get into an altercation. The neighbor calls the heroine’s husband and tells him his wife is cheating on him. He drinks himself into a stupor, confronts his wife, then storms out and crashes his car into a tree. Your heroine is wracked with guilt because this all happened as a result of her confronting the neighbor, because of her tendency to act before thinking. Create chain reactions based on your character’s flaws and your story almost writes itself.

3. Look to your friend the playwright. You hear this one all the time: raise the stakes. Novels, like plays, can often be broken down into three acts. If you’re a structure person, this idea can help you build plot. Remember Euripides? In Act One, you put your character up a tree. In Act Two, throw rocks at him and see what he’s made of. In Act Three, get him down from the tree. When I was in graduate school, I took a playwriting class as an elective. It helped me tremendously in terms of writing scenes with real action, creating structure, and upping the ante to keep momentum in the story. Your novel is a series of scenes: each scene needs to reveal something about the character or move the story forward. I still look to The Playwright’s Guidebook to this day (and you should do yourself a favor and get a copy), but for some quick tips on writing revealing scenes, check out Jane Friedman’s website. She has helpful exercises to get you started. Holly Lisle defines scenes based on change, and has some great tips on writing with that pattern in mind.

4. Create an overarching plot based on your Big Important Question, and then create subplots. Your Big Important Question is the key question you set up in the very beginning of your novel. This is the question that keeps the reader turning the page; this is the question you must resolve at the end of your book. In Bayou My Love, I set up the BIQ in the first chapter: Will Enza flip this house she inherited and prove herself to her father? But we lead complicated lives. You need more than one burning question. So: subplots! I knew from the beginning that Bayou My Love was a love story. (Can Jack win Enza over? Will she fall in love with him? Will Enza sell the house or stay in the bayou?) I also wanted it to have suspenseful elements. (Who is setting fires all over town and putting Enza in danger? Who is taunting her and Jack with voodoo? Will this person be found? Will Enza find her estranged mother?) Each question creates a subplot, but they are all connected based on Enza’s fears, desires, strengths, and flaws. Complexity leaves you, the writer, more room for decisions and consequences, and that creates more action and drama. This setup easily allows you to tackle one problem and then create another one, leaving your character up a tree for a long enough time that readers see what he’s made of. Then you earn your ending.

5. And speaking of endings, how do you know when you get there? At a reading recently, someone asked me this very question. The answer? Easy. You’ve arrived at the end when your character either gets what she wants or loses it. You’re there when you’ve answered the Big Important Question. Naturally, there are quiet endings and loud endings, but the best ones are memorable because they touch something that resonates within us. Nancy Kress discusses a variety of styles of endings, but points out that we should always avoid the anticlimactic. The best endings are a little surprising, but always inevitable. After all, your character has a certain trajectory based on the fears and desires you’ve given them. They make choices that expose their weaknesses and build their strengths, so the outcome should reflect their growth or decay. There’s a fine line between predictable and inevitable, but the thing that separates them is finesse. The qualities that make your character unique can be your way into a surprising yet inevitable ending. I’m thinking of Jojo Moyes, Tana French, Mary Gaitskill, and Janet Fitch. If you create multi-faceted characters and build plots with high emotional stakes, you’ve set yourself up for a masterful ending—one that will meet the Two Big Criteria of being (1) unavoidable and (2) unpredictable.

Crafting an engaging plot might not be easy, but it’s totally do-able. It’s a matter of finesse. You got this.

 

This post was previously published on UndergroundBookReviews.com in 2017. Look for the fifth and final part of this quick-fix series next week. Happy writing, Friends!